Šarlo Akrobata(Charlot the Acrobat, a Serbo-Croatian version of Charlie Chaplin‘s name) were a seminal Yugoslavpost-punk band from Belgrade. Short-lived but extremely influential, being one of the most important acts of the Yugoslav new wave movement (Novi Talas). The power-trio left an indelible mark on the entire music scene, playing skeletal, energetic ska-core with a post-punk sound reminding of Gang of Four, XTC, The Stranglers, Public Image Limited and Frank Zappa!

If you want to know a little more about the rock development in Serbia and former Yugoslavia, pay a visit on our last entries, Katarina II and Discipline Kičme.

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The origin of the new wave scene in Serbia can be found in Belgrade late-70’s bands Zvuk Ulice, Limunovo Drvo and Hipnotisano Pile. These three featured the future members of milestone groups Idoli, Šarlo AkrobataandElektrični Orgazam.

Električni Orgazam

Guitarists Milan Mladenović and Dragomir Mihajlović performed hard rock for two years in Limunovo Drvo, before adopting the punk rock on the arrival of the bassist Dušan Kojić ‘Koja’ and drummer Ivan Vdović ‘VD’. After the departure of Mihajlović (who would play on Katarina II), they finally renamed to Šarlo Akrobata!

Over 1980-81,its first recordings were released on the compilation Paket Aranžman, today considered one of the most prominent Serbian/Yugoslav rock releases. After a second prize on Subotica Youth Fest and performance on Zagreb Bienalle, they recorded their only album, Bistriji Ili Tuplji Covek Biva Kad…(Brighter or Dumber a Man Gets When…) in April 1981, combining punkish energy with dissonant, avant-garde, and a daring approach both to the playing, recording and performance.

Milan, Koja & Ivan = Šarlo Akrobata

The band disbanded in the winter of 1981 after a tour in Poland; Milan Mladenovic started a successful and prolific group Ekatarina Velika, and Dusan Kojic formed the progressive punk act Discipline Kičme.The the alleged reason was different views on how to continue their musical expression; around 1982, the New Wave scenestarted to decline, asa large number of acts moved towards a more commercial sound.

During the 80’s, Đorđe Balašević, for instance, dominated the mainstream pop scene, but various other rock genres also emerged, such as Jakarta, Oktobar 1864, Beograd, La Strada, Zana and Rambo Amadeus, starting to develop and gain mainstream popularity, not only in Yoguslavia, but all around Eastern Europe!

Pekinška Patkathe, the first Orthodox punk rock band, 1978!

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An unique punk record, full of furious guitar riffs, raw bass sound, and wild shouting! Lyrics are either nonsensical, randomly recited, either rebellious, a true example of a punk angst, either minimalistic representing an auditivegraffiti painting. (!)

This is a record full of studio tricks that are deconstructing a classical approach to the songwriting, gradually (or abruptly) adding/subtracting instrumental layers in the songs, repeating simple one-two-three-four chorus ad nauseam, making at mantra at first, and then deconstructing it by simply adding polyrhythmical pattern on bass, while drums get heavily processed with an echo effect and other modulations.

1981

Lastly, this record is a lot different from everything that we used to hear so far, avant punk are the perfect title to add to these crazy geniuses, forget about Ekatarina Velika (my personal favorite) and other Serbian entries, this is where it all began, observe closely and plunge forward into it, the one and only Šarlo Akrobata!

The Socialist Federal Republic of Yugoslavia was the Yugoslav state that existed from the end of WWII (1945) until it was formally dissolved in 1992 amid the Yugoslav wars. It was a socialist state that comprised the area of the present-day independent states of Bosnia and Herzegovina, Croatia, Republic of Macedonia, Montenegro, Serbia, Sloveniaand Kosovo. Outside the Eastern Bloc, but a founding member of the Non-Aligned Movement and as such, it was far more opened and tolerant to western influences comparing to the (many) other socialist states.

Unlike the citizens of other Socialist countries, Yugoslavs enjoyed freedom of travel and had an easy access to Westernpopular culture. The Yugoslav pop and rock music scene was well developed and covered in the media including numerousmagazines, radio and (pioneering) TV shows. SFR Yugoslavia was also the only Socialist country which was taking part in the Eurovision Song Contest, it joined in 1961 even before Western nations such as Portugal, Ireland, Greece and Turkey. (!)

Stjepan Filipović / ‘Death to fascism, freedom to the people!’

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The new wave music scene emerged in the late 70’s worldwide and had a significant impact on Yugoslav culture. As its counterparts, the British and the US movement, the Yugoslav new wave was also closely related to Punk Rock, Ska, Reggae, 2 Tone, Mod Revival, etc. The period around 1982 is considered especially crucial concerning the decline of the scene in Yugoslavia, and around the globe.

Zoran Kostić-Cane, the former vocalist of Radnička Kontrola, formed the furious garage punk group Partibrejkers and achieved huge success. Idoli, Prljavo Kazalište and Film became pop-rock and all of them respectively achieved great mainstream success. The cult band Azra gradually moved on to a more conventional folk-rock sound and Električni Orgazam went through a psychedelic phase.

Partibrejkers, 1981

Symbols of the Yugoslav new wave era are the compilation albums Paket Aranžman, Novi Punk Val, Artistička Radna Akcija and especially movies Davitelj Protiv Davitelja(starring Idoli member Srđan Šaper) and Dečko Koji Obećava(featuring appearances by Šarlo Akrobata and Idoli). Also an important rockumentary covering this effervescent period is Sretno Dijete, check it out! Lastly, Dušan Kojić-Koja, the former bass player of Šarlo Akrobata formed the legendary group Disciplina Kičme.

This period in the former Yugoslav music is considered a Golden Age Era!

Paket Aranžman (Compilation), 1981

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Disciplina Kičme(Spinal Discipline), currently working under the slightly altered name of Disciplin A Kitschme, was one of twospin-offs of the seminal Belgradepost-punk/new-wave band Šarlo Akrobata, the other being Ekatarina Velika.

Founded in 1982 by Dušan Kojić-Koja(bass and vocals), Disciplina Kičme was characterized by an unconventional line-ups: bass + one or two drummers, sometimes with and without a brass line. Musically, they are best described as an aggressive and artistic rhythmic explosion, experimenting and seeking out new expressiveness while finding (plenty)inspiration in the traditions of punk rock, funk, jazz fusion, noise, drum n’ bass and even the works of Jimi Hendrix. (!)

Disciplina Kičme (Zica & Koja), 1982

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After the first independent album release Sviđa Mi Se Da Ti Ne Bude Prijatno (1983),the band continued performing in major Yugoslav cities, mainly in small clubs, and in 1985, they released an EP Ja Imam Šarene Oči (I Have Colorful Eyes), with the single ‘Novac Neće Doći’, released by Slovenian label Dokumentarna.

Todorović did the drums and Krasavac appeared only on the intro for the track ‘Sviđa Mi Se…’ and on ’28. jun 1984′ recorded live at Belgrade’s SKC on the same date. Kojić produced the EP and for the first time included a trumpet played by Jugoslav Muškinja. Along the decades they passed through many different line-ups and styles, with an (very) active career, being internationally recognized.

Nowadays, the band enjoys a solid cult status, and a last album from 2011!

After the quintessential Belgrade new wave band of the early 80’s, Šarlo Akrobata, hit the rocks, the trio essentially splintered in two directions. Bass player Dušan Kojićwent on to form Disciplina Kičme, where he continued to experiment with various musical influences, while the more lyrical, poetic of the two, vocalist/guitar player Milan Mladenović, opted to form Katarina II. Named as such, the band which later reached starry (in local terms) heights under Ekatarina Velika moniker released only this album, which quickly became a cult favorite in old Yugoslavia.

The New Wave music scene emerged at the end of the 70’s, it was especially advocated by the music magazines Polet from Zagreb and Džuboks from Belgrade, and by the TV show Rokenroler, which was famous for its artistic musicvideos.

Ekatarina Velika(Catherine the Great, also called EKV) was a rock group from Belgrade, Serbia. During its existence, EKV built up a devoted following that greatly intensified and expanded after the death of its frontman Milan Mladenović in 1994, which caused the band to dissolve. The group’s core consisted of singer and guitarist Milan Mladenović, keyboardist Margita Stefanović and bassist Bojan Pečar.

Initially named Katarina II, was formed in February 1982 following the breakup of Šarlo Akrobata, Katarina II’s self-titled debut album finally came out in 1984.

Magazine Issue

After the release the group fell apart due to artistic differences, guitarist Gagi Mihajlovićclaimed rights to the Katarina II name, then, the remaining members settled on Ekatarina Velika. In 1985, EKV released their debut album, Ekatarina Velika, the Lp is characterized by an energetic sound and Milan’s hermetic, introspective, and metaphorical lyrics. The 1986 follow up album S Vetrom Uz Lice proved to be the breakthrough album that turned them into bona fidestars!

The hits included ‘Budi Sam Na Ulici’ and ‘Ti Si Sav Moj Bol’, in addition to wider mainstream acceptance, S Vetrom Uz Lice also got some lukewarm reviews from critics complaining it sounded too much like Simple Minds and The Mission (sic).

80’s Promo

In 1987 the band recorded and released Ljubav, it displayed a more guitar-oriented, polished sound, partly because of new producer Theodore Yanni. It also showed the first signs of Milan’s depressive lyrics, as exemplified by song ‘Tonemo’;the band confirmed their newfound star status with two consecutive sold out shows at Belgrade’s Hala Pionir sports arena. The 1989 album Samo Par Godina Za Nas wasn’t received well by the critics, though it does feature the song Par Godina Za Naswhich was voted the best (ex) Yugoslavian rock song in 2006 by serbian Radios!

In the 90’s the band released albums irregularly due to band changes and the political situation in Yugoslavia. Dum Dum (1991) and Neko Nas Posmatra (1993) were released but the band slowly fell apart. Milan Mladenović was diagnosed with pancreatic cancer in August and died on November 5, 1994 at the age of 36.

Margita Stefanović

Bassist Bojan Pečar died in London on October 13, 1998, aged 37, as a result of a heart attack. Early drummers Ivan ‘Vd’ Vdović passed away in 1992 and Dušan Dejanović died from AIDS on November 16, 2000. Keyboard player and vocalist Margita Stefanović died on September 18, 2002, drug abuse was rumored (never confirmed) to be the cause, she was 43 and the last of the original line up left. (RIP all of them)

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The band had started recording of the album in Beograd but due to various problems it was finally recorded for the Slovenian label ZKP RTLJ(RTV Ljubljana). The album producer was Đorđe Petrović, and guest stars were Mario Čelik (congas) and Jurij Novoselić (saxophone) from the (famous) Croatian new wave band Film.

Initially pressed in mere 3,000 copies, Katarina II is a spirited debut effort, torn somewhere between the new wave aesthetic and polished rock sound which became the hallmark of Ekatarina Velika. Essentially, there are two main vibes to discern on this album, Milan Mladenović’s songs are more progressive in its approach, like ‘Jesen’, ‘Geto’ and ‘Aut’, contrasting with the songs written by Dragan Mihajlović, ‘Vrt’, ‘Platforme’ and‘Treba Da Se Čisti’, which retain the structure and faux-mysticism of the previous movement (Idoli and Šarlo Akrobata).

Back Cover

Slotted in between is a beautiful little ballad ‘Kad Krenem Ka’, written and sang by Margita, as well as a cheery pop number ‘Radostan Dan’. Overall, it all makes for a well-rounded package, with a couple of classics (Geto and Jesen) and eclipsed influences such as Talking Heads. An absolutely essential listen, Sretan Put!

Serbian culture refers to the culture of Serbia and of ethnic Serbs. For centuries straddling the boundaries between East and West, Serbia had been divided among the Eastern and Western halves of the Roman Empire; then between the Kingdom of Hungary, Frankish Kingdom and Byzantium; and then between the Ottoman Empire and the Habsburg Empire, as well Republic of Venice in the south. (!)

These overlapping influences have resulted in cultural varieties throughout Serbia: its north leans to the profile of Central Europe, while the south is characteristic of the wider Balkans and even the Mediterranean. Serbs were initially governing the Byzantine frontiers and were later through their sworn alliance given independence, baptized by Greek missionaries and adopted the Cyrillic script.

Migration of the Serbs, 1896 (Paja Jovanovic)

The Byzantine influence on Serbia was profound, firstly through the introduction of Eastern Christianity (Orthodoxy) in the Early Middle Ages. The Serbian Orthodox Church has had an enduring status with the many Serbian monasteries constituting the most valuable cultural monuments left from Serbia in the Middle Ages.

Following Serbia‘s autonomy after the Serbian revolution and eventual independence, the culture of Serbia was restrengthened within its people!

Studenica Monastery

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Born as Dragana Šarićon2nd October, 1962, Belgrade. Singer and composer Šarić had contact with music since her early years, as her father, Milenko Šarić, was a jazz musician. She started in the late 70’s in the band Tarkus, in 1979 her first studio recordings: as a guest (backing) vocalist on the Igra Staklenih Perli album Vrt Vetlosti; YU Grupa album Samo Napred..! and also KIM Band’s 1981 release.

In 1981, with the guitarist Goran Vejvoda and the bass guitarist Ivan Vdović, she formed the short-lasting band Annoda Rouge. Soon after, Šarić under the (worldwide known) name Bebi Dol, released her (brilliant) solo debut, Oriental music-inspired single ‘Mustafa’, which she composed together with Saša Habić.

1981

The song featured the recording of Slobodan Konjović‘s voice, he was at the time, Studio B musical editor, and participated the whole production. Mustafa, was voted the best pop song in Yugoslavia in 1981 and was re-released, two years later, on her debut album, Ruže I Krv, to great critical acclaim and popular success!

Her next album, Ritam Srca, was released more than a decade later, in 1995, even though she regularly performed as a pop and jazz singer (for three years she lived in Cairo, singing in Sheraton hotels), recording and appearing as a guest artist on the albums of other artists. The second pause in her work came in the late 90’s and her album, Ljuta Sam, was released only in 2002 (with electronic tinges).

Early Promo

Her last releases, Čovek Rado Izvan Sebe Živi, in 2006 and Veče U Pozorištuin 2007, were mainly based on american covers, the last a live album. She also made a famous presentation on Eurovision 1991, with one of its mega hits, Brazil.

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An excellent vocalist gifted with a soaring voice, ultra-eccentric musical talent and altogether this young lady comes in some adorable, nutty package that we had not seen before or since. Here she was catapulted into national scene, if not exactly to the stars because this single was way too underground for mainstream audience.

Mustafa sounds one of those rare songs that simply stand the test of time and it has original message to protagonist: forget all those european ladies with flower pots on their heads, who make love shamelessly (!). Na Planeti Uzdaha is her own take on famous Edvard Grieg piece where chorus of vailing and out-of-this world voices (multi-recorded Bebi Dol herself) sing her atmospheric siren song!

Bebi Dol, Lately

Thanks to our friends from Jugo Rock Feverand many others through the net, we’re able to discover and admire this fabulous musical scene developed since communist times. Here are some fine acts, from the 70’s: Smak, YU Grupa, Galija and Korni Grupa (hard and prog). And incredible acts from the 80’s: Idoli, Šarlo Akrobata, Električni Orgazam and Disciplina Kičme (new wave and synth-pop).

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Bhagavata Purana (9th / 10th Century)

"While Dhruva Maharaja was passing through space, he saw, in succession, all the planets of the solar system, and on the path he saw all the demigods in their vimanas showering flowers upon him like rain...
He traveled in that way through the various planets, as the air passes freely in every direction. Coursing through the air in that grand and splendid vimana, which could fly at will, he surpassed even the Devas."